GREEN DAY
London O2 Arena
October 23rd
5/5
Time has flown since those massive Milton Keynes summer gigs back in 2005. Just when you thought the live Green Day experience (or Green Day for that matter) couldn’t get any bigger, along came ‘21st Century Breakdown’. The O2 gigs could well have been the moment that it became apparent that the colossal juggernaut that is what the once snotty trio of punks has become would have gotten too big, rolled over and crushed the band that spawned it? Green Day’s trademark personable gigs and intimate interaction with their audience that so endeared them in the past would be smothered, wouldn’t it? Not a bit of it, the pink rabbit hinted that although the scale of their gigs had become immense the old ways weren’t going to be swamped by huge sets and settings. The trepidation we felt being forced into a seated area must be shared by almost all those in a similar predicament, but even that wasn’t a worry for long. “Stand up!” hollered Billie Joe Armstrong as he strides on stage. There was no need, everyone in the place was already stood up and that’s how they stayed. Almost immediately all fears were banished as the guitar-wielding frontman appeared to get security in a flap as he scampered up into the nether reaches of the seating areas, heading headlong into a sea of clamouring arms before his own tattooed arms went around the neck of one delighted punter, complete with guitar. ‘21st Century Breakdown’ and ‘American Idiot’ hits were blasted out in the way anthemic songs should be but then ‘2000 Light Years’ delightfully almost sounded as huge, though seemed to bewilder as many people as it delighted. The demographic of the audience seemed to highlight the meteoric rise of the band since ‘American Idiot’, when that song appeared to get a bigger roar and sing-along than ‘Basket Case’ and ‘Welcome To Paradise’. Surely not? Yes, that’s the way things have gone. The classics of old are not the tunes the new generations of fans love Green Day for and why should they be? However, those old favourites weren’t neglected. Having said that, the back catalogue has been embraced by a lot of the new generation too, the kid that got up to sing ‘Longview’ wouldn’t have been born when that was recorded. Money has enabled the Green Day experience to benefit from spectacular backdrops and props but this is one band for which it really is a case of gilding the lily, with their energy and delivery not really needing all the extras as they were easily a match for this large venue. After almost three hours worth of hits complete with stage diving, fans dragged on stage, pyrotechnics, toilet roll guns and all the shenanigans you’d expect, it was all over. As the spotlight faded for the last time everyone there knew it – we had just witnessed one of the greatest shows on Earth.
Simon Nott
FOXBORO HOT TUBS
London Relentless Garage
November 1st
5/5
It’s one am on a freezing Sunday night and we are queuing to get into London’s Garage along with two hundred other Green Day fans and competition winners. Anticipation has been high since it was announced on a London radio station that Green Days' garage rock alter egos THE FOXBORO HOT TUBS would play this intimate show after their sold out gigs at the O2 and Wembley arenas. And as Billie Joe, Tre and Mike roam onto the stage with three other band mates and proceed to throw beer over the audience it’s clear we are in for a fun night. Dressed in groovy ‘60s rock ‘n’ roll attire and calling everyone in the audience his baby doll, Billie Joe launches into 'Stop Drop And Roll' and the fronts rows go wild. In fact Armstrong either spends most of his time crowd surfing or throwing beer over the audience - or both at the same time. The band are in party mode and certainly look like they have had a drink or three but still crank out their garage rock ‘n’ roll in super tight, rapid fashion. The Hot Tubs’ sound is a brilliant combination of The Who, The Kinks and the Monkees, stamped with Green Day’s recognisable trademark hooks and harmonies. In fact, 'Mother Mary' sounds almost like it could be lifted off '21st Century Breakdown'.
While we won’t see Green Day until the summer’s giant stadium shows, tonight’s intimate showing is enough to sate those lucky enough to get in. Stop, Drop and Roll on 2010!
Words: Eugene Big Cheese
RISE AND FALL
London Islington 02 Academy 2
November 11th
3/5
Combating a slightly ropey sound when they first took to the stage, RISE AND FALL found themselves bereft of most of their low-end rumble. But, after four songs or so, they click. Moshy older numbers like ‘Bottomfeeder’ get the crowd moving for the first time tonight as the band throw themselves around the stage with scant regard for their own wellbeing, while the handful of numbers from new album ‘Our Circle Is Vicious’ display a more expansive but no-less-intense side to their sound. That’s perhaps best encapsulated by set stand-out ‘In Circles’ which is pretty much jaw-droppingly awesome, and they’re comfortably the best band of the night. With live performances of this quality, and the strength of their new album, there’s no doubting Rise And Fall can quite easily compete with their more hyped Yank peers for ‘the kids’ affections.
Nick Mann
CLUTCH
KYLESA
London Camden Koko
November 3rd
4/5
The dual drummer attack of noisemongers KYLESA is unrelenting in the heaving Koko tonight, with their unique set-up proving a fresh viewpoint of brutality. It's good to see them in a less confined venue than they usually slay in. CLUTCH are applauded like old masters when they amble on stage and, as they launch into their southern fried heavy rock, the trucker-capped heads around the venue begin to nod in unison. What this band lack in charisma and presence is made up for in pure groove during tunes like 'Regulator' and 'Abraham Lincoln'. Cranking it out for almost two hours you get the feeling the crowd would've stood in awe all night given half the chance, such is the cheering around the venue. Clutch may not be for the cool kids, but the sold out throng of metallers, stoners and doom heads here tonight wouldn't want to be anywhere else.
Miles Hackett
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